DOCSLIB.ORG

By Kimberley Moulton AUGUST 18 - DECEMBER 20, 2015

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
By Kimberley Moulton AUGUST 18 - DECEMBER 20, 2015 where the water moves, where it rests Curated by Kimberley Moulton AUGUST 18 - DECEMBER 20, 2015 Curator’s Walk and Talk Thursday, August 20, 5:30 pm Djambawa Marawili Artist Residency October 25 - November 7 ACKNOWLEDGMENTS Australia Council for the Arts Buku-Larrnggay Mulka Center Djambawa Marawili AM Kimberley Moulton Maria T. Kluge National Gallery of Australia Wesfarmers Kluge-Ruhe Aboriginal Art Collection Collins Sydney Natural ochres on eucalpytus bark. Photo by , 2015, of the University of Virginia 400 Worrell Drive, Charlottesville, VA 22911 Yathikpa [email protected] | www.kluge-ruhe.org 434.244.0234 Tuesday - Saturday, 10 am - 4 pm & Sunday, 1 - 5 pm Free guided tour every Saturday, 10:30 am jambawa Marawili, COVER: D COVER: where the water moves, where it rests 1 Djambawa Marawili AM: CHANGE AGENT DJAMBAWA MARAWILI AM By Kimberley Moulton, Yorta Yorta Djambawa Marawili AM is an acclaimed artist and leader of his clan the Madarrpa of the Yolngu People of northeast Arnhem Land. He is a principal ceremonial “To be free is to be able to question the way power is exercised, disputing claims to leader and a land and sea rights activist leading the 2008 domination. Such questioning involves our ethos, our ways of being or becoming successful sea rights claim. In 1996 he won the Telstra who we are. To be free we must be able to question the ways our own history National Aboriginal and Torres Strait Islander Art Award defines us.” for the Best Bark Painting, and his work is held in the - Gordon Bennett collections of many major Australian museums, as well as many esteemed private collections. He is a painter, a sculptor and a print maker who has pioneered new Djambawa Marawili AM creates art work that is more than just bark paintings; it aesthetics and been monumental in the development is an expression of culture, of truth and of freedom. His work is a commanding and mentor-ship of other Yolngu artists.In 2013 he was manifestation of cultural knowledge and a physical materialization of sovereignty. chosen by the Australian Prime Minister as a member This intrinsic belonging to country and cultural ways of being have been handed of the National Indigenous Advisory Panel and most down by his Ancestors from time immemorial. These Ancestors and their recently was invited to participate in the Istanbul knowledge continue to live and breathe through the land, and through descendents Biennale. Djambawa is a leader in the interface between like Djambawa who create powerful and contemporary expressions of this cultural non-Aboriginal and Yolngu people of Arnhem Land. history. The artwork of Djambawa is one KIMBERLEY MOULTON “...This country important aspect of the role he plays has the stories. within his own community and as one of Kimberley Moulton is a Yorta-Yorta woman who has Australia’s greatest leaders. He defines spent the past six years as the Project Officer and And those stories his own identity and the way in which Curator of the Birrarung Art Gallery a space of the stories are passed down through his Bunjilaka Aboriginal Cultural Centre at Melbourne were there from individual design on bark, ensuring that Museum. An emerging leader and mentor in the his voice and the voices of his people are Australian visual arts, she was recently a judge for beyond, from our heard, and respected. A senior leader the 2015 Western Australia Indigenous Art Awards and cultural care-taker of his clan, the and is the inaugural recipient of the Wesfarmers Ancestors to us, our Madarrpa of the Yolngu (Aboriginal) International Indigenous Curatorial Fellowship with people of northeast Arnhem Land, the National Gallery of Australia.She is an alumni Grandfathers to our Djambawa is a ceremonial leader and of the Wesfarmers Indigenous Leadership Program facilitates ceremonies from initiation and the British Council ACCELERATE Program. Fathers and to us.” through to death. He is also an activist, Kimberley is currently combining a post-graduate a political and social visionary and a diploma in Indigenous Studies and a Masters of Arts Djambawa Marawili AM mediator between the Yolngu and the Curatorship at the University of Melbourne. rest of the world. He paints where the salt water meets the fresh water and all that runs between. He paints where the salt water and the fresh water meet, his voice is carried on the waves and sung to the stars, out past the sacred rocks and onto the rest of the world. “Every individual’s name is a special name representing country. Country is where the flood waters rush by and become one. It is that, now we are telling you. Also the rocks. Rocks that the country holds. Where the water moves...where it rests”. i Bennett, G. In ‘Notes to GB’ exhibition room brochure, Sutton Gallery, Melbourne. 2014. ii Marawili, D. in Djalkiri, We Are Standing On Their Names catalogue. Buku-Larrngay Mulka Centre, 2010. iii Alfred, T. (2005) Wasase. Indigenous Pathways of Action and Freedom. Peterborough, ON. Broadview Press. iv Marawili, D. Declaration in ‘Saltwater: Recognition of Sea Country: The Recognition of Indigenous Sea Rights’. Buku-Larrngay Mulka Centre, Isaacs. J and Associates. 1999. Pg 14. v ibid. Garrangali, 2010, Etching and screenprint. Yathikpa, 2015, Natural ochres on eucalpytus bark Djambawa’s works are technically exquisite reflections of culture that retain a fluidity: they hang beyond the white cube while also sitting very comfortably within it. Collected and exhibited in many major galleries and museums across the world, the work generously shares the strength and complex layers of Madarrpa culture. Djambawa’s paintings also sit on Yolngu Country at the Buku- Larrnggay Mulka Arts Centre in Yirrkala, and in situ on the walls, serve as silent teachers of culture for future generations. “I want people to understand it’s not just a colourful or beautiful show of paintings “Whose country but it has meaning and is a document of my are you on at this country.” - Djambawa Marawili AM moment? Indigenous people have a birthright and inherent belonging to the land; this Peel back the sovereignty transnational to Indigenous peoples across the globe. As one connects concrete veneer, with the stories in Djambawa Marawili’s work, his message can evoke reflection of the colonial positionality within space and the landscape - whose country are you on at this moment? rotundas and the Peel back the concrete veneer, the colonial fast food chains rotundas and the fast food chains and gas stations to feel the footprints of the First and gas stations Peoples that walked before the land was colonized. People continue to maintain, to feel the respect and card for land and each other, as they have for thousands of years. While First footprints of the Peoples may appear to be physically absent or displaced within the landscape, the First Peoples that presence and sovereignty of these people will always remain and cannot be washed walked before away with the tide of history. the land was The leadership of Djambawa Marawili and the messages within his work connect colonized.” beyond his country to educate and inspire change. Yathikpa, 2015, Natural ochres on eucalpytus bark Djambawa has been a strong advocate for changing the ‘status quo’ of what His work firmly places the living culture of Yolgnu people in the here and now and Yolngu art should and can be. Stepping outside of convention, he has created has been a monumental influence for other Aboriginal artists from the region a unique diamond pattern that honors law and culture but conceptually moves since the mid-1990s, mentoring and developing talents and in turn creating new beyond a general ‘traditional’ method of telling story. Flowing chains of aesthetics. He changed formal compositions to express his stories in visually diamonds in ochre move across the bark paintings, telling stories of Baru the ground-breaking new ways, pioneering a new aesthetic. His artwork does not crocodile, the bringer of fire. Hypnotising swirls of the water where Burri’tji the sit within the historical past; it is informed by Ancestral story and collective rainbow lightning serpent lives and waits to spit lighting into the sky creates memory while at the same time making sense of the complexities of Aboriginal optical illusions. The sacred areas of water and land come to life in complex cultures in a colonized land. His work embodies Madarrpa culture and strongly layers of pattern and color. speaks to grand narratives of sovereignty, Aboriginal rights, identity and the de-colonization of Balanda (white) viewpoints. These themes are integral to The fire that is carried by Baru burns the current discourse of contemporary Australian Aboriginal and Torres Strait strong and ignites Djambawa’s Islander art. passion for freedom and self- determination, activating political Canadian Aboriginal Professor Taiaiake Alfred states that “De-colonisation is change and highlighting the bond a process of discovering the truth in a world created out of lies. It is thinking to culture. His art also speaks through what we think we know to what is actually true but is obscured by to a global audience and as a knowledge derived from experiences as colonised peoples...our struggle is with contemporary artist his works move all forms of political power, and to this fight, we bring our only real weapon: the in and out of, and challenge, western power of truth.” ideologies of what is ‘contemporary’ and what is ‘traditional’ Aboriginal Djambawa Marawili’s art acts as ‘evidence’ and holds a truth that could sit art. While Djambawa’s artwork fits alongside any book or with any western epistemology in the world. Djambawa’s into what people would generally works have been used as historical record for decades in the legal fight forYolngu conceive of what Aboriginal art land rights and recognition.
Load more

Recommended publications
  • Djambawa Marawili
    DJAMBAWA MARAWILI Date de naissance : 1953 Communauté artistique : Yirrkala Langue : Madarrpa Support : pigments naturels sur écorce, sculpture sur bois, gravure sur linoleum Nom de peau : Yirritja Thèmes : Yinapungapu, Yathikpa, Burrut'tji, Baru - crocodile, heron, fish, eagle, dugong Djambawa Marawili (born 1953) is an artist who has experienced mainstream success (as the winner of the 1996 Telstra National Aboriginal and Torres Strait Islander Art award Best Bark Painting Prize and as an artist represented in most major Australian institutional collections and several important overseas public and private collections) but for whom the production of art is a small part of a much bigger picture. Djambawa as a senior artist as well as sculpture and bark painting has produced linocut images and produced the first screenprint image for the Buku-Larr\gay Mulka Printspace. His principal roles are as a leader of the Madarrpa clan, a caretaker for the spiritual wellbeing of his own and other related clan’s and an activist and administrator in the interface between non-Aboriginal people and the Yol\u (Aboriginal) people of North East Arnhem Land. He is first and foremost a leader, and his art is one of the tools he uses to lead. As a participant in the production of the Barunga Statement (1988),which led to Bob Hawke’s promise of a treaty, the Royal Commission into Black Deaths in Custody and the formation of ATSIC , Djambawa drew on the sacred foundation of his people to represent the power of Yolngu and educate ‘outsiders’ in the justice of his people’s struggle for recognition.
    [Show full text]
  • Annual Report 2011–12 Annual Report 2011–12 the National Gallery of Australia Is a Commonwealth (Cover) Authority Established Under the National Gallery Act 1975
    ANNUAL REPORT 2011–12 ANNUAL REPORT 2011–12 The National Gallery of Australia is a Commonwealth (cover) authority established under the National Gallery Act 1975. Henri Matisse Oceania, the sea (Océanie, la mer) 1946 The vision of the National Gallery of Australia is the screenprint on linen cultural enrichment of all Australians through access 172 x 385.4 cm to their national art gallery, the quality of the national National Gallery of Australia, Canberra collection, the exceptional displays, exhibitions and gift of Tim Fairfax AM, 2012 programs, and the professionalism of our staff. The Gallery’s governing body, the Council of the National Gallery of Australia, has expertise in arts administration, corporate governance, administration and financial and business management. In 2011–12, the National Gallery of Australia received an appropriation from the Australian Government totalling $48.828 million (including an equity injection of $16.219 million for development of the national collection), raised $13.811 million, and employed 250 full-time equivalent staff. © National Gallery of Australia 2012 ISSN 1323 5192 All rights reserved. No part of this publication can be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the publisher. Produced by the Publishing Department of the National Gallery of Australia Edited by Eric Meredith Designed by Susannah Luddy Printed by New Millennium National Gallery of Australia GPO Box 1150 Canberra ACT 2601 nga.gov.au/AboutUs/Reports 30 September 2012 The Hon Simon Crean MP Minister for the Arts Parliament House CANBERRA ACT 2600 Dear Minister On behalf of the Council of the National Gallery of Australia, I have pleasure in submitting to you, for presentation to each House of Parliament, the National Gallery of Australia’s Annual Report covering the period 1 July 2011 to 30 June 2012.
    [Show full text]
  • Unbranded Unbranded 06052019 — 22062019
    unbranded unbranded 06052019 — 22062019 121 View St BENDIGO Victoria 3550 Damien Shen Dean Cross Gunybi Ganambarr Illiam Nargoodah James Tylor John Prince Siddon Ngarralja Tommy May Noŋgirrŋa Marawili Nyurpaya Kaika Burton Patrina Munuŋgurr Sharyn Egan Sonia Kurarra Wukun Wanambi Cover image: Sonia Kurarra, Martuwarra, 2015, syntheti c polymer paint on canvas, 152 x 137cm. Courtesy of the arti st and Mangkaja Arts. Image left : Gunybi Ganambarr at Gangan. Photo by Dave Wickens. Courtesy of the arti st and Buku-Larrŋgay Mulka Centre. unbranded presents work by Indigenous contemporary unbranded as a curatorial enterprise questions these artists whose practices undermine and subvert the notion reductive and divisive modes of representation and of a singular Indigenous ‘brand’ or ‘aesthetic’. Their work interpretation, while simultaneously affirming the unpicks preconceptions of what Indigenous creative diversity, multiplicity and complexity of contemporary practice is or, should be, rejecting binary assumptions Indigenous experience, both live and inherited. around ‘traditional/non-traditional’, or ‘urban/remote’ practices and other applied, and often arbitrary Emerging from ongoing discussions around the premise categorisations. Their work instead reflects multiplicity, established by Glenn Iseger-Pilkington in his essay complexity and sometimes-conflicting experiences of Branded: the Indigenous Aestheticoriginally published by culture and identity in contemporary Australia. the Centre for Contemporary Photography (CCP) in 2009, unbranded challenges the relevance of an The act of ‘branding’, clustering often disparate products ‘Indigenous brand’ or ‘aesthetic’, and refutes the notion together for marketing purposes, strips the voice of the that such a brand can somehow represent the experience individual artist or maker and separates creative output of Indigenous artists and Indigenous people across from the contemporary context in which it is created.
    [Show full text]
  • Download PDF CV
    BUKU-~ARR|GAY MULKA Yirrkala NT 0880 Phone 08 8987 1701 Fax 08 8987 2701 www.yirrkala.com [email protected] Djambawa Marawili Other Names Miniyawany Born 13/04/53 Died na Moiety Yirritja moiety Homeland Baniyala Clan Yithuwa Ma[arrpa - Nyu\u[upuy Ma[arrpa Selected Details of Artist’s Working Life Medium and Theme Earth Pigments on Bark Incised and painted wood scupture Printmaking Ceremonial objects - hollow log coffins Biography Djambawa Marawili (born 1953) is an artist who has experienced mainstream success (as the winner of the 1996 Telstra National Aboriginal and Torres Strait Islander Art award Best Bark Painting Prize and as an artist represented in most major Australian institutional collections and several important overseas public and private collections) but for whom the production of art is a small part of a much bigger picture. Djambawa as a senior artist as well as sculpture and bark painting has produced linocut images and produced the first screenprint image for the Buku-Larr\gay Mulka Printspace. His principal roles are as a leader of the Madarrpa clan, a caretaker for the spiritual well-being of his own and other related clan’s and an activist and administrator in the interface between non-Aboriginal people and the Yol\u (Aboriginal) people of North East Arnhem Land. He is first and foremost a leader, and his art is one of the tools he uses to lead. As a participant in the production of the Barunga Statement (1988),which led to Bob Hawke’s promise of a treaty, the Royal Commission into Black Deaths in Custody and the formation of ATSIC , Djambawa drew on the sacred foundation of his people to represent the power of Yolngu and educate ‘outsiders’ in the justice of his people’s struggle for recognition.
    [Show full text]
  • The Wider Indigenous Community Benefits of Yirralka Rangers in Blue Mud Bay, Northeast Arnhem Land | Final Report
    Rangers in place: the wider Indigenous community benefits of Yirralka Rangers in Blue Mud Bay, northeast Arnhem Land | Final report By Marcus Barber Report Title Author’s name Acknowledgements My sincere thanks go to the rangers and residents of Baniyala and GanGan in Northeast Arnhem Land, in particular Madarrpa clan elder and Baniyala community leader Djambawa Marawili. Thanks to staff at the Yirralka Rangers, The Mulka Project, and the Buku-Larrnggay Mulka Arts Centre. This research was funded by the National Environmental Research Program, Northern Australia Hub supported by the Water for a Health Country and the Land & Water Flagships of the CSIRO. Thanks to Sue Jackson for her project leadership and considerable contribution to the literature review in Section 2 which is based on a forthcoming paper. Thanks also to fellow researchers on NERP 2.1 Indigenous livelihoods – Jon Altman, Sean Kerins, and Nic Gambold. Cathy Robinson, Sue Jackson, and David Preece provided important comments on the draft of this report. Film production would not have been possible without the invaluable contributions of Ishmael Marika and Joseph Brady from the Mulka Project, editorial expertise from Vidhi Shah, and logistical support by David Preece and other staff from Yirralka Rangers. Front cover: Male rangers on sea patrol Back cover: Female Yirralka Rangers making soap at Baniyala ranger station Important disclaimer CSIRO advises that the information contained in this publication comprises general statements based on scientific research. The reader is advised and needs to be aware that such information may be incomplete or unable to be used in any specific situation.
    [Show full text]
  • PROMOTING DIVERSITY of CULTURAL EXPRESSION in ARTS in AUSTRALIA a Case Study Report
    PROMOTING DIVERSITY OF CULTURAL EXPRESSION IN ARTS IN AUSTRALIA A case study report Dr Phillip Mar Institute for Culture and Society, Western Sydney University Distinguished Professor Ien Ang Institute for Culture and Society, Institute for Culture Western Sydney University and Society DIVERSITY OF CULTURAL EXPRESSIONS Published under Creative Commons Attribution-Noncommercial-NonDerivative Works 2.5 License Any distribution must include the following attribution: P.Mar & I.Ang (2015) Promoting Diversity of Cultural Expressions in Arts in Australia, Sydney, Australia Council for the Arts. ABOUT THE AUTHORS Dr Phillip Mar Phillip Mar is an anthropologist by training, with research interests in migration, political emotions, contemporary art and cultural policy. Since 2008, Phillip Mar has been a researcher at the Centre for Cultural Research / Institute for Culture and Society, Western Sydney University. Distinguished Professor Ien Ang Ien Ang is a Distinguished Professor of Cultural Studies at the Institute for Culture and Society (ICS) at Western Sydney University. She is one of the leaders in cultural studies worldwide, with interdisciplinary work spanning many areas of the humanities and social sciences, focusing broadly on the processes and impacts of cultural flow and exchange in the globalised world. Her books, including Watching Dallas, Desperately Seeking the Audience and On Not Speaking Chinese, are recognised as classics in the field and her work has been translated into many languages, including Chinese, Japanese, Italian, Turkish, German, Korean and Spanish. Her most recent book, co-edited with E. Lally and K. Anderson, is The Art of Engagement: Culture, Collaboration, Innovation (2011). She is also the co-author (with Y.
    [Show full text]
  • Indigenous Cultural Festivals EVALUATING IMPACT on COMMUNITY HEALTH and WELLBEING
    Indigenous Cultural Festivals EVALUATING IMPACT ON COMMUNITY HEALTH AND WELLBEING A report to the Telstra Foundation on research on Indigenous festivals 2007—2010 PETER PHIPPS AND LISA SLATER GLOBALISM RESEARCH CENTRE WITH BO SVORONOS, DANIELLE WYATT, MAYA HAVILAND AND GLENN MORROW Copyright © 2010 Globalism Research Centre, RMIT University This work is copyright. Apart from any use as permitted under the Copyright Act of 1968, no part may be reproduced by any process without written permission. Published by Globalism Research Centre. Indigenous Cultural Festivals: Evaluating Impact on Community Health and Wellbeing 1. Phipps, Peter 2. Slater, Lisa ISBN 978-0-9805531-8-5 Globalism Research Centre Cover image: RMIT University The Chooky Dancers from Elcho Building 37, Level 5 Island in Arnhem Land perform at The 411 Swanston Street Dreaming Festival, 2008 after becoming Melbourne an international YouTube sensation. www.rmit.edu.au/globalism Photo: Peter Phipps Contents Acknowledgements 6 Executive summary 8 1. Indigenous festivals in Australia: Introduction and methods 10 Historical context 10 Policy context 12 Benefits, strengths and vulnerabilities of Indigenous festivals 15 Method: How we did our research 17 International context 18 2. Key Concepts: Indigenous People, Wellbeing and ‘the Good Life’ 20 Indigenous concepts of health and wellbeing 21 Social inclusion 23 Empowerment 27 3. Croc Festival: Cape York, Torres Strait, Derby and Shepparton 30 Aims and objectives 31 Education 32 Freedom from discrimination 36 Capacity building and social capital 37 Identity and belonging 41 Heritage 43 Role models 44 Health 45 4. The Dreaming Festival: Woodford 48 Youth program 49 Identity 49 Intergenerational exchange 51 Representation and voice 52 Showcasing Indigenous excellence 55 Cultural security 58 Economic development 58 Reconciliation 61 5.
    [Show full text]
  • Lands of Shame: Aboriginal and Torres Strait Islander 'Homelands'
    Lands of Shame Aboriginal and Torres Strait Islander ‘Homelands’ in Transition Lands of Shame Aboriginal and Torres Strait Islander ‘Homelands’ in Transition Helen Hughes For Baniyala’s children and my children’s children that they may share this land in prosperity and peace. Lands of Shame by Helen Hughes Published May 2007 The Centre for Independent Studies Limited PO Box 92, St Leonards, NSW 1590 E-mail: [email protected] Website: www.cis.org.au Views expressed in the publications of The Centre for Independent Studies are those of the author and do not necessarily reflect the views of the Centre’s staff, Advisers, Directors or officers. National Library of Australia Cataloguing-in-Publication Data: Hughes, Helen. Lands of Shame : Aboriginal and Torres Strait Islander ‘homelands’ in transition. ISBN 978 1 864321 35 7 (pbk.). 1. Aboriginal Australians. 2. Torres Strait Islanders. 3.Aboriginal Australians - Economic conditions. 4. Torres Strait Islanders - Economic conditions. 5. Aboriginal Australians - Social conditions. 6. Torres Strait Islanders - Social conditions. I. Title. 305.89915 ©2007 The Centre for Independent Studies Cover photograph ‘The Closed School Door’ by Vanessa Hughes Cover design by Abby French Edited by Dominic Rolfe Printed by Ligare Book Printer Typeset in Adobe Garamond 11pt vi Contents 1. Introduction 3 2. Historical background 9 The 1967 Referendum 9 Land rights 10 Two models of Indigenous development 11 ‘Homelands’ 13 Changing public perceptions 14 3. Demographic trends 17 Population of the ‘homelands’ 17 Fringe and ghetto populations 18 Declining mainstream participation 20 Mobility and living standards 21 The case for core centres 22 4.
    [Show full text]
  • Arts BACKBONE Vol
    Arts BACKBONE Vol. 17: Issue 2 & Vol. 18: Issue 1, August 2018 Cultural Legacy Edition ANKA Cultural Legacy Program and Intro to Issue WelcomeSupport for Cultural Legacy Sea Rights 10 Year AnniversaryCEO - Yingapungapu Sand Sculpture GabrielDjambawa Nodea, Marawili ANKA AM, Deputy ANKA Chairperson Chairperson & Jedda Puruntatameri Christina Davidson, ANKA CEO Darwin Office GPO BOX 2152, DARWIN of country, animals, seasons, weather created for ceremony in North East These scooped out hollows became NORTHERN TERRITORY, AUSTRALIA 0801 patterns and the natural world. We are Arnhem Land, especially for funerals the model for the Yingapungapu Sand Ph +61 (0) 8 8981 6134 also materially poor, and our people and cleansing rituals. Sand sculpture Sculpture. Email [email protected] have levels of serious illness, which are can be both impermanent, designed www.anka.org.au completely unacceptable in a rich country Facebook: ANKA - Arnhem Northern & like Australia. for use only for the duration of the The Wuradilaku women and the Kimberley Artists, Aboriginal Corporation ceremony, or permanent. In the case story of the Yingapungapu links three To continue the important work of looking of the new Yingapungapu Sea Rights peninsulas in the north of Blue Mud after Australia’s first high culture, we need Northern Kimberley and Arnhem Aboriginal Artists, Sand Sculpture it is planned that after Bay: Garrapara of the Dhalwangu Aboriginal Corporation (ANKA) is the peak body more respect and understanding. We need for Aboriginal artists and 48 Aboriginal owned Above: Djambawa Marawili AM, Madarrpa wider Australia to properly understand the July 30 celebrations, a fence will Gumana clan, Baniyala (Yilpara) of community Art Centres in: the Kimberley, Arnhem Clan leader/ANKA Chair, Baniyala Homeland, that in the homelands, in our communities be constructed, and the sand will be the Madarrpa clan and Djarrakpi of Land, Tiwi Islands and Katherine/Darwin regions sand sculpture.
    [Show full text]
  • Re-Engaging the Economic with the Social
    CENTRE FOR ABORIGINAL ECONOMIC POLICY RESEARCH Re-engaging the economic with the social A response to Increasing Indigenous Economic Opportunity: a discussion paper on the future of the CDEP and Indigenous employment programs F. Morphy CAEPR Topical Issue No. 9/2008 ANU COLLEGE OF ARTS & SOCIAL SCIENCES Re-engaging the economic with the social A response to Increasing Indigenous Economic Opportunity: a discussion paper on the future of the CDEP and Indigenous employment programs F. Morphy Fellow, Centre for Aboriginal Economic Policy Research, College of Arts and Social Sciences, Australian National University, Canberra; e-mail: [email protected] SOME CONcepTUAL prOBLEMS >. My overarching concern with the formulation of the discussion in the Discussion Paper is its failure to conceptualise adequately the target population. Aboriginal people are viewed as ‘individuals’ in isolation, and their communities No. 9/2008 are arranged in a hierarchy defined in terms of access to the mainstream labour market, with no reference as to how they themselves might view them. In remoter areas of the Northern Territory and particularly in Arnhem Land, Aboriginal societies comprise distinct social fields in which the most salient facts influencing people’s place of residence and mobility patterns are attachment to country and kin connections, not their access to the labour market. These socio-cultural systems are deeply embedded, complex and persistent, and are likely to remain so for , Topical Issue , Topical a considerable time to come. http://www.anu.edu.au/caepr/ It is not adequate as a basis for policy to characterise these social fields in ethnocentric terms, as deficient versions of the mainstream that ‘lack’ certain mainstream characteristics.
    [Show full text]
  • A Critical Sociological Inquiry Into the Aboriginal Art Phenomenon
    Hope, Ethics and Disenchantment: a critical sociological inquiry into the Aboriginal art phenomenon by Laura Fisher A thesis submitted in fulfilment of the requirements for the degree of PhD (Sociology) University of NSW 2012 ii PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Fisher First name: Laura Other name/s: Abbreviation for degree as given in the University calendar: PhD (Sociology) School: Social Sciences and International Studies Faculty: Faculty of Arts & Social Sciences Title: Hope, Ethics and Disenchantment: a critical sociological inquiry into the Aboriginal art phenomenon Abstract 350 words maximum: (PLEASE TYPE) Aboriginal and Torres Strait Islander Art art has come to occupy a significant space in the Australian cultural landscape. It has also achieved international recognition as one of the most interesting aesthetic movements of recent decades and has become highly valuable within the art market. Yet there is much that remains obscure about Aboriginal art. It seems at once unstoppable and precarious: an effervescent cultural renaissance that is highly vulnerable to malign forces. This thesis brings a critical sociological perspective to bear upon the unruly character of the Aboriginal art phenomenon. It adopts a reflexive and interdisciplinary approach that brings into dialogue scholarship from several fields, including anthropology of art, art history and criticism, post-colonial critique, sociology of art and culture, theories of modernity, theories of cross-cultural brokerage and Australian political history. By taking this approach, the thesis is able to illuminate the intellectual and aesthetic practices, social movements and political events that have been constitutive of Aboriginal art‟s meaning and value from the late 19th Century to the present.
    [Show full text]
  • The Growing Presence of Inauthentic Aboriginal and Torres Strait Islander ‘Style’ Art and Craft Products and Merchandise for Sale Across Australia
    ANKA Submission, to the House of Representatives Standing Committee on Indigenous Affairs: Inquiry into the Growing Presence of Inauthentic Aboriginal and Torres Strait Islander ‘style’ Art and Craft Products and Merchandise for Sale Across Australia ANKA (Arnhem, Northern and Kimberley Artists Aboriginal Corporation) welcomes the parliamentary inquiry and thanks Senator Scullion for referring the matter to the Committee. The ANKA board and membership of artists and designers are asking for the support of government to make the necessary changes to Australian Law to protect their rights and responsibilities as cultural custodians of the oldest living culture on earth and as citizens whose livelihoods are tied to making and selling authentic art and craft products. In addition to this written report please refer to the ANKA Board of Directors video statements at: https://vimeo.com/242697202 (further details below). INTRODUCING ANKA ANKA (Arnhem, Northern and Kimberley Artists Aboriginal Corporation) is the not-for-profit Aboriginal governed peak body and support agency for over 5,000 Aboriginal artists and 47 Aboriginal owned and operated Art Centers in the Top End of the Northern Territory and Western Australia. Now in its 30th year, ANKA is the ‘face and voice’ of Aboriginal artists and Art Centres in its four regions: Arnhem Land, the Kimberley, Tiwi Islands and Katherine-Darwin. The ANKA regions in northern Australia span over one million square kilometers of some of Australia’s most ‘remote’ country: ranging across from Broome on the west coast of the Kimberley in Western Australia, to Blue Mud Bay, East Arnhem Land, at the far edge of the Northern Territory; and down from the Tiwi Islands at the top of the continent, to the upper tip of the Tanami Desert in the south.
    [Show full text]